Carapecchia~s intervention at the Inquisitor~s Palace - 1733-34

Kenneth Gambin

The Inquisitor's Palace, siteJ in the heart of the h1stoncal Inquisitor Giovanni Francesco Stoppani arnved 111 city ofVittoriosa, is one of the very few surviving palaces in March 1731. Apparently he had been briefed by his of its kind which in the early modern period could be predecessor, Fabrizio Serbelloni, about the works which found all over Europe and South America. Many simply were planned for the Inquisitor's Palace. Serhelloni, in succumbed to the ravages of time or else were victims fact, had already planned- and obtained permission from of the reactionary power unleashed by the French his superiors of the Holy Congregation in Rome - to Revolution. Fortunately, the Maltese Inquisitor's Palace, carry out restructuring works at the Inquisitor's Palace: throughout its five centuries of history, always hosted the replacement of the beamed ceilings of the three halls high-ranking officials representing the main powers on of the Piano Nobile. 2 The commencement of works, the island, who ensured its survival. The Palace also however, had to be postponed, since the wood which managed to survive through the ordeal of the Second had been ordered directly from Venice for the beams (it World War and the threat of modern development, and was cheaper than if it had been ordered locally) had not although much has been changed in its structure by its yet arrived. Stoppani, on his part, did not simply wait. successive occupants, it is today an architectural gem, Barely a month after his arrival, he had reconfirmed the representative of the chequered history of the Maltese need for the structural repairs by commissioning two islands. carpenters, Antonio Fiteni and Gioseppe Azzopardo, to give him a condition report of the state of conservation Yet, until now, our knowledge of the Palace arid its of the said ceilings. They asserted that the travi non history remained very incomplete, and all one can find sono piu in stato da pater soffrir il peso cha hanno anzi is small pieces of information scattered here and there chiaramente si vede che minacciano rovina. According in various sources. The history of the Palace received a to their estimate, the cost of their replacement would boost last year with the publication of three previously have amounted to 1,250 scudi Maltesi. 3 unknown plans of the building discovered in Rome.1 Yet much still remains to be done in foreign as well as (as in this case) in local archives, in order to fully appreciate the history and vicissitudes of the Inquisitor's Palace, especially when placed in a wider Maltese and European context.

The background The Palazzo del Sant Officio was not built purposely as a residence for the inquisitors of Malta. The Palace was built in the 1530s by the Order of St John as their civil courts and it served that purpose until 1571, when the Order transferred its headquarters to . It remained MCCCXXXIII: 1733 - the year in which the entire project vacant for three years, until1574, when it was given to was planned and executed was recorded on the lintel of the Mgr Pietro Dusina, the first General Inquisitor and door facing the Bibliotheca Apostolic Delegate of Malta, to be used as his residence. In the first decades of the Holy Office in Malta the Palace was considered unsuitable and inhospitable by the high This report was sent to Rome for approval by the Holy ranking dignitaries who had to reside in it, and they tried Congregation,4 which on its part instructed Stoppani to to transform it into a more suitable place. Letters by proceed secondo il suo arbitrio e prudenza.5 Basing local inquisitors to the Holy Congregation in Rome are, himself on this report, therefore, Stoppani 's initial plans in fact, replete with references to the need for repairs were to refurbish the halls of the Piano Nobile. The wood and embellishments in various parts of the Palace. Major which had been ordered from Venice arrived in Malta restructuring works were carried out by Inquisitor Fabio only in 1733. Work on the ceilings commenced Chigi in the 1630s, Inquisitor Gerolamo Casanate in the immediately. However, while the works were in 1660s, and Tommaso Ruffo in the 1690s. The next major progress, unexpected abundant rains caused one of the development took place in the 1730s. walls of the main hall to absorb much more water than usual. As a result it collapsed onto the main staircase.

34 Malta Archaeological Review • Issue 4 2000 after having certified that this was in an imminent state of collapse, he thereupon immediately decided to embark on a more extensive and ambitious project for the Inquisitor's Palace as a whole. Instead of simply refurbishing the halls of the Piano Nobile, he resolved to reconstruct a new majestic entrance to the Palace together with the main staircase con simetria e decoro corrispondente al corpo dell' edifizio, ensuring that it became the centre-piece of the whole Palace, ritoccando le adiacenti stanze ed officine che la cingono come nel centra del Palazzo. Once he was at it, Stoppani also built the Bibliotheca, the secondary flight of stairs which leads to the second floor, reconstructed a section of the prison complex, enlarged the Family's quarters, gave a facelift to the garden (reference to battumatori peril giardino), constructed a passageway which links the Ruffo Apartments to the auditor's offices, and constructed a new drainage system for the Palace, whose foundations were accumulating unnecessary amounts of water to the detriment of the whole building. Possibly, he also reconstructed part, if not all, of the chapel, which is in the main hall of the Piano Nobile. The coat of arms of the Roman Inquisition designed by Carapecchia for the ceiling of the main staircase. The 37 ( ?canne) of tela used for the coat of arms were sewn by Maestro Lorenzo Borg. It was fixed to the ceiling with 10 migliari di chiodetti, and pittore Gio. Antonio [ ] took care of the stucco and the painting (fols 368-72)

Even the prison cells were at risk of not being utilised. According to Stoppani, the principal cause of such a collapse was the soil which the Maltese used to build with instead of lime. The damage was so extensive that S toppani had to seek temporary alternative accommodation for himself and his staff for up to six months in a nearby residence, for which he had to pay rent. This was an added burden for the Inquisition The remains of the colossal sculpture with three papal coat of Tribunal, since, the financial situation of the Holy Office arms and a replica of the original inscription put in place by was far from being a happy one.6 Vincenzo Bonello in 1930 (see Carapecchia's plan) That this was a massive project is clear from the register which the meticulous procuratore of the Holy Office, B. Ciantar, used to list down to the slightest detail regarding all the different types of works which were being carried out, including the workers, their different tasks, their 'salary scale', the materials they used and for what, and all the various expenses.7 The work went on uninterruptedly for one whole year, from July 1733 to July 1734, involving in all 150 workers working 5 to 6 days a week, ranging from 17 falegnami (carpenters), 15 battumatori (earth-beaters), 2 pittori (painters), 5 muratori (stone masons), 7 stuccatori (plasterers), one A detail of Carapecchia 's architectural design ferraro (blacksmith), one guardiano (watchman), 4 scultori (sculptors), one vitraro (glazier), one cugitore (tailor), 88 manoali/lavoratori/ragazzi (labourers), and This dramatic situation needed some quick thinking and 6 schiavi (slaves), including 17 Maestri (skilled decision taking. Stoppani was quick to react. His first craftsmen). The original nucleus of workers was kept decision was to reconstruct the staircase as it was before, throughout, but constant recruitment and changes kept making use of the arch which used to support it. But going on as the works progressed, also dictated by

Malta Archaeological Review • Issue 4 2000 35 Three views of the main staircase of the Inquisitor's Palace during restoration by Vincenzo Bonello in 1930 necessity, (eg. the battumatori were not needed from his numerous letters to the Holy Congregation while the the start, but only after the new beamed roofs were put works were still going on. Probably, what convinced in place). By May 1734 the bulk of the project must Stoppani to keep a very low profile on this project was have been over since there was a drastic decrease in the the sum total of the entire plan, which amounted to 5,243 number of workers and in their load. scudi. 9

The large scale of the project could also be gathered Another underlying reason why Stoppani would have from a quantitative analysis of the materials used: a total embarked on such an ex ten si ve project was that of status. of 153 salme of calce (lime), and 6,223 cariche (?cart In a society which put a lot of emphasis on fa<;ade effect, loads) of stones (excluding a considerable number of protocol and the order of precedence, the Palace was balate, dadi, capitelli, mensole, chiavi, cantoni, and considered to be the outward sign of the splendour of a scaline - the majority from a quarry in Santa Venera), family or institution. It was used to impress and and turba (earth material) and arena (sand) from St command deference, even if it masked onerous debts. 10 Julian's, and terracotta and puzzolana from Rabat. The Conspicuous consumption was a value widely shared proper understanding of the materials used, including a by eighteenth century European society as a form of lot of details on Baroque interiors and artists' techniques communication: 'to be distinguished from others, -which still have to be studied fully- should be of great whether equals (and therefore rivals), or inferiors' . 11 In interest to present-day architects, conservators and other words, besides the real necessity to construct a restorers. new staircase, the project would also have been undertaken for what it symbolised, for its contribution Fully aware of the bureaucracy of Rome, but also to a particular image which the inquisitor wanted to because the circumstances (as described above) so project of himself and of the Inquisition in general. 12 As dictated (non ammettea consiglio), Stoppani took the Inquisitor Giacomo Caracciolo instructed his successor initiative to authorise the new project himself without Ranieri d'Elci in 1710, conviene all'inquisitore di Malta previously obtaining the go-ahead from Rome, as he was il trattarsi splendidamente ... poiche in questaforma ... bound to do. Not having enough money to finance this concilia gran rispetto. 11 In Stoppani's case the project, he decided to make use of the accumulated funds immediate intended receivers of this kind of message of the local office of the Reverenda Fabbrica di San would have been the Bishop of Malta and the Grand Pietro (which also operated from the Inquisitor's Palace) Master; more the latter than the former. The reigning for the purpose. He informed the Holy Congregation of Grand Master Manoel de Vilhena has in fact been his financial 'policy' and ofthe whole project, including described as 'a great prince determined to transform the plans and elevations for approval, only one week Malta into a typical Baroque State' through his intense after the work was completed, taking the maximum building activity. 14 It was precisely during this period advantage of the communication difficulties and of the that the Grand Master was erecting the beautiful particular circumstances.8 Stoppani's tactic seems to magisterial palace of (Palazzo Vilhena). Stoppani have been intentional, since it appears that he did not obviously did not want to be any less, and he probably even refer once to the works in progress at the Palace in grasped this opportunity to demonstrate his power.

36 Malta Archaeological Review • Issue 4 2000 It was precisely the staircase which acted as the definite Carapecchia was a very busy professional in 1733. He architectural point of reference in which this social had just been approached by the BailiffFra Gio. Battista discourse took place. 15 It was in itself an important Spinola to enlarge and enhance his palace in St Julian's vehicle of diplomacy since one's social standing was bay. 21 Besides, Carapecchia was also engrossed in acknowledged precisely by the point in the staircase in designing a new monastery for the Franciscan Minor which the Inquisitor received his guests. The paying of Conventuals of Valletta, and a new parish church of St calls in fact was so important that it required specific Publius in .22 In addition, it is now clear that instruction books setting forth its principles and details. Carapccchia was also commissioned by Inquisitor Even the inquisitors of Malta had their own manual Stoppani to design a new majestic entrance and main which they used in such occasions. 16 staircase for the Inquisitor's Palace after the accidents described above. Actually it appears that Stoppani, as a man of his times, was very keen on his social standing, and he took full This staircase has been described as having 'an important advantage of this particular situation to transform the niche in the history of Maltese staircases' since from it Palace to satisfy his requirements and aspirations. During eventually evolved other important ones such as that of his tenure of office, in fact, he also protested with his the Augustinian Priory at Rabat (1740), the Auberge de superiors in Rome that certain Maltese jurats were using Castille (1741), and the National Museum of Fine Arts four horses to pull their carriage, while he had only two. (1761 ). 23 Stoppani therefore was given permission to use up to six horses to pull his carriage since he held a much more It is also apparent that Carapecchia did not just limit important position. 17 himself to design the project, but he also firmly engaged himself in its execution. It is not difficult to imagine The architect him interacting with the maestri and workers mentioned A key entry of this document is without any doubt that above, providing several 'inventive ideas' to solve any of 19 April 1734 concerning the mind behind such a technical problems which would have inevitably risen project: the architect during the actual building process, as he himself had advised architects to do in his Compendia Architettonico Per 24 Zecchini Magistrali dati al Molt'Illustre Signore of the 1680s. 24 It is also not to be excluded that Fra Romano Carapecchi[a] come architetto per aver Carapecchia may have designed some alterations to the fatto il disegno delta scala, ed assistito diverse volte chapel of the Inquisitor's Palace (whose retaining wall nell 'esequtione del suo disegno: 102 scudi 18 had collapsed as described above), as well as some of the iron brackets and doors and apertures complementary Romano Carapecchia arrived at the court of the Order to the project, as he did for St John's Conventual of St John in 1707 and he remained in Malta right up to Church.25 The construction of a new drainage system his death in 1738. At the time of his arrival, the Baroque for the entire Palace could also possibly be a result of spirit was still lacking in Malta. 19 Throughout his 31 Carapecchia's expertise in the realm of water years of residence on the island, however, Carapecchia engineering.26 In any case, considering the extent of the managed to 'draw early eighteenth century architecture project and the multiple problems it faced and managed in Malta within the mainstream of this great European to solve at one go, it appears improbable that the cultural movement' through his 'constant search for new contribution of Carapecchia was strictly limited to the solutions', 'intensive creative drive' and 'superb design. A master mind would have been needed to technical skill', especially during the magistracy of envisage these multi-faceted problems and tackle them Grand Master Vilhena. 20 as one whole.

Many of the buildings which were being erected in Malta The design of the Inquisitor's Palace has indeed been at this time have the imprint of Carapecchia on them. published on page 93 of Arch. De Lucca's book (from Some of them, such as the Manoel Theatre, the church page 14 of the Conway Album, London). However, it of St Catherine ofltaly in Valletta, and Palazzo Spinola has been attributed to one of Carapecchia's works in in St Julian's,just to mention a few, are very well known. Rome: the !sola Tiberina project, including the Others, however, are less known, while others still Fatebenefratelli HospitalY The two designs on page remain unknown. Fortunately, the existence of an album 13 and 14 of the said album have in fact some similarities of architectural drawings authored by Carapecchia (notably the ceiling). However the second one certainly himself at the Courtauld Institute of Art in London has belongs to the 1733-34 plan of the Inquisitor's Palace. enabled Arch. Denis De Lucca to produce a very Apparently this was an earlier sketch of the project, since interesting book on this architect and thereby making some minor details are different from the actual state of known many of Carapecchia's masterpieces and his the building. The subsequent final design, the original overall contribution to Malta's architectural history. watercolour of which has only lately been found in the

Malta Archaeological Review • Issue 4 2000 37 Carapecchia's plan for the main entrance of the Inquisitor's Palace. (From: J. Azzopardi & W Zammit, 'Inquisitor's Palace in Vittoriosa: Discovery of three original plans in Rome' in Treasures of Malta, Easter I 999, pp. I 5-20 ).

Vatican archives, 28 matches perfectly with the present This was not the first time that the Holy Office made day building. use of architects of the Order of St John for structural works in the Palace. The same had happened with This actually gives rise to two possibilities: either that it Giovanni Barbara and Inquisitor Caracciolo in 1707.33 is a mistaken attribution, or that Carapecchia recycled his plan of the Fatebenefratelli Hospital and adapted it Carapecchia's plan of 1733 also allows us to make some to the Inquisitor's Palace. The second possibility, wider observations on the Inquisitor's Palace and its although not to be discarded, is perhaps unlikely, history as a building. It is certain that the level above considering the great ease with which Carapecchia the Piano Nobile had been built before 1733 (though designed (disegnava a maraviglia), and the exactness definitely not before 1696 since it is not included in the with which it matches that of the Inquisitor's Palace. plan of that year). In 1733 the room above the Chancery was in fact used by the Signor Segretario From this plan one can also appreciate one of the main dell'Illustrissimo e Reverendissimo Mons. Inquisitore. 34 traits of Carapecchia as an architect: that of respecting It is still not known when the upper floor of the Palace older building fabrics when having to add new sections was constructed, but it is possible that it was the work onto them. 29 He managed to create a magnificent of Inquisitor Giacomo Caracciolo ( 1706-171 0) and entrance and main staircase to the Palace - complete with architect Giovanni Barbara in 1707.35 The fact that no a colossal sculpture including three papal coat of arms, official records referring to this work have been found an inscription, and the impressive coat of arms of the so far could arise from the fact that Caracciolo had paid Roman Inquisition on the ceiling - only with minor for it from his own pocket and then simply put a plaque interventions on the rooms close to the area intended to in the main staircase as a record of his munificence. be reconstructed. In order to interfere less with the However, this does not specify what the work consisted adjoining rooms he lighted the staircase with 'carefully of, and the letter which had been sent to Rome describing positioned high level windows' as he had done in the the works undertaken36 has not been traced as yet. nunnery dedicated to St Catherine in Valletta. 30 The fa~ade was also left intact as it had been designed by In any case, it is hoped that this discovery sheds more Francesco Sammut in 1660. light and engenders more appreciation for the history of the Inquisitor's Palace and its wider significance as part The finished project of the Inquisitor's Palace, the official of our European cultural heritage. seat of the Pope's representative in Malta, must have certainly added to the prestige enjoyed by Carapecchia. References Actually this was not the first time that Carapecchia had 1 J. Azzopardi and W. Zammit, 'Inquisitor's Palace in worked closely with the Holy Office. In the 1720s he Vittoriosa: Discovery of the three original plans in had been asked to produce a design to replace the existing Rome' in Treasures of Malta, Easter 1999, pp. 15-20. 2 AIM, Corr.94, f.236v, Serbelloni to Cardinal Ottoboni, 1 fa~ade of the church of St Lawrence in Vittoriosa, whose October 1729. patron was the inquisitor himself (then Antonio Ruffo ), 3 AIM, Mem.5, ff.165-166v, 19 April; 18 June 1731: who intended to hoost his stature as papal legate hy ~AIM, CmL94, f.266v, Stuppani tu Holy Congregation, 16 31 enhancing the prestige of 'his' church. Carapecchia July 1731. must also have collaborated closely with Inquisitor Ruffo 5 Ibid., Corr.25, f.26, Cardinal Ottoboni to Stoppani, 11 when he drew the Ristretto generale di tutte le Cisterne August 1731. e Gebbie publiche e private ... in all the harbour area, 6 Ibid., Corr.94, ff.286-287v, Stoppani to Holy including Vittoriosa and the Inquisitor's Palace in 1723.32 Congregation, 16 February 1732.

38 Malta Archaeological Review • Issue 4 2000 7 AIM, Mem.S, ff.352-382v, Libra delli pagamentifatti dal 16 NLM, Lib. Vo1.23, f.4, Trattamenti dell'Inquisitore nel procuratore del Sant Officio alii lavoratori cha hanno ricevere e rendere le visite. lavorato nel Palazzo Apostolico del Sant Officio di 17 A. Bonnici, Storja ta' l-Inkizizzjoni ta' Malta, Ill (Malta, Malta peril risarcimento dei soffitti fatti nuovi nella 1994), p.85. Cancellaria, Sala dei Staffieri, ed Anticamera, nuova 18 AIM, Mem.S, f.370v. loggia, nuovafabrica, ed altro bisognevole dal di 24 19 De Lucca, p.9. Luglio 1733, sin' oggi di 16 Luglio 1734. 20 Ibid., p. viii. 8 AIM, Corr.95, ff.25v-26v, Stoppani to Holy Congregation, 21 Ibid., p.l88. 24July 1734. 22 Ibid., p.l95. 9 However, in his letter to Rome Stoppani affirmed that the 23 L. Mahoney, 'Secular architecture', in Birgu. A Maltese total cost had amounted only to 1903.34 scudi. Was this maritime city, Vol.II (Malta, 1993), p.446. a result of the difference in the rate of exchange between 24 De Lucca, p.47. scudi Romani and scudi Maltesi? 25 Ibid., p.212. 10 R. Cleary, The Palace Royale and urban design in the 26 Ibid., p.263. Ancien Regime (Cambridge, 1999), p.l2. 27 Ibid., p.90-6. 11 P. Burke, The historical anthropology of early modern 28 Azzopardi and Zammi t, 19. Italy (Cambridge, 1987), pp.l32-6. 29 De Lucca, p.211. 12 P. Burke, 'Res et verba. Conspicuous consumption in the 30 Ibid., p.l33. early modern world' in J. Brewer and R. Porter (eds), 31 Ibid., p.l67. Consumption and the world of goods (London-New 32 Ibid., p.263-80. York, 1994), p.149. 33 AIM. Corr. 94, f.l34v, Caracciolo to Holy Congregation, 13 AIM, Memorie, Vol.l (Caracciolo), f.l8v. 19 October 1707. 14 D. De Lucca, Carapecchia. Master of baroque 34 AIM, Mem.S, f.l65. architecture in early eighteenth century Malta (Malta, 35 AIM, Corr.94, ff.l34-135, Caracciolo to Holy 1999), p.l82. Congregation, 19 October 1707. 15 P. Waddy, Seventeenth century Roman palaces. Use and 36 Ibid., Corr.l9, f.80, Cardinal Marescotti to Gio. Battista the art of the plan (New York, 1990), pp.3-8. Napulone, 22 November 1710.

Dedicated to Vincenzo Bonello, who in 1939 'literally resurrected Carapecchia from total oblivion' (De Lucca, p.vii), and who during the 1920s and 1930s resurrected the Inquisitor's Palace from 'the abundant traces of the awkward and mischievous meddling of man' (MAR, 1925-26, p.xi).

Malta Archaeological Review • Issue 4 2000 39